Bringing Large Format Film to the US Open: A Photographer’s Unconventional Experiment with a 4×5 Camera
The intersection of modern sports journalism and traditional photography methods produced a compelling experiment when professional creator Jared Polin, known widely as FroKnowsPhoto, took a vintage 4×5 large-format film camera onto the grounds of the prestigious US Open tennis tournament. While contemporary sports media relies heavily on high-speed digital bodies capable of firing upwards of thirty frames per second with advanced autofocus tracking, Polin and his collaborator Austin opted for a radically different methodology. Armed with bulky sheet film, a mechanical setup, and a deliberate, painstaking process, the team spent a full day documenting one of the world’s premier sporting events using technology that predates modern digital sensors by generations.
The endeavor not only challenged conventional wisdom regarding what constitutes viable gear for fast-paced athletic competitions, but it also offered a profound lesson in patience, composition, and the stark contrast between modern automated efficiency and historical photographic discipline. Invited by tournament organizers to experience the event from a unique vantage point, the photographers willingly traded the instantaneous feedback of contemporary mirrorless systems for the deliberate, calculated mechanics of large-format analog photography.
The Modern Sports Photography Landscape Versus Large Format
To understand the magnitude of attempting to cover the US Open with a 4×5 camera, one must first examine the standard toolkit of a modern sports photojournalist. Today’s major sporting events are dominated by high-end digital mirrorless flagships—such as the Canon EOS R5 Mark II, which Polin utilized behind the scenes for supplementary video documentation. These contemporary marvels feature deep buffers, lightning-fast electronic shutters, artificial intelligence-driven subject detection, and sophisticated telephoto lenses with instantaneous autofocus. Photographers routinely capture thousands of frames per match, relying on continuous burst modes to freeze a tennis ball traveling at over 100 miles per hour right at the exact moment of impact with the racket.
In stark contrast, a 4×5 large-format camera operates entirely on manual mechanics. It requires individual sheet film holders that typically carry only two exposures—one on each side of the sheet—before requiring a manual reload in a dark environment or changing bag. There is no autofocus, no high-iso sensor performance to rescue a poorly lit shot, and no motorized film advance. Every single frame demands that the photographer manually set the aperture and shutter speed, pull the dark slide, trip the mechanical shutter, and reinsert the slide.
Given these monumental operational limitations, questioning one’s sanity during the shoot is practically guaranteed. Polin openly admitted that multiple times throughout the grueling day at Flushing Meadows, he questioned whether choosing the 4×5 format was a massive mistake. The physical weight of the equipment, the setup time required for each composition, and the sheer unpredictability of fast-moving tennis action made capturing a successful image an exercise in extreme difficulty.
Chronology and Execution of the US Open Shoot
The project began with an invitation extended to Polin and Austin by US Open organizers, granting them access to the grounds for a day of creative exploration. Rather than approaching the assignment with standard digital telephoto gear, the creators mapped out a strategy centered around the large-format camera.
Early in the day, the realities of shooting sports on large format quickly set in. Tennis is a game of rapid transitions, lightning-fast serves, and sudden player movements. A 4×5 camera, by its very nature, is designed for static subjects—architecture, landscapes, and formal portraits where meticulous composition takes precedence over split-second timing. Attempting to pre-focus a 4×5 camera on a specific spot on a tennis court and waiting for a player to enter that exact plane of focus requires immense anticipation.
Throughout the morning and afternoon, the photographers navigated the bustling grounds of the USTA Billie Jean King National Tennis Center. While spectators buzzed between outer courts and Arthur Ashe Stadium, Polin and Austin carefully maneuvered their tripod-mounted system, seeking angles and moments where the deliberate pace of large format could yield compelling results. Each exposure was treated with immense gravity, knowing that mistakes in exposure, focus, or player positioning could not be undone with a flick of a command dial.
Despite the hurdles, the experience proved to be an invaluable educational exercise. Rather than viewing the day through the lens of traditional productivity metrics—such as the sheer volume of usable frames generated—the project succeeded as an exploration of photographic discipline. Polin noted that the lessons learned from the experiment will directly inform how they approach similar out-of-the-box creative challenges in the future, establishing a framework for potential return visits in subsequent years.
Technical Realities and Equipment Utilized
While the primary creative focus of the day centered on the vintage 4×5 large-format system, the production of the accompanying behind-the-scenes content relied heavily on cutting-edge technology. The video documentation of the experiment was captured using the Canon EOS R5 Mark II paired with professional Canon RF L Lenses, showcasing the bridge between modern digital capture and historical analog processes.
The Canon EOS R5 Mark II represents the pinnacle of modern hybrid image-making, offering high-resolution stills capability alongside advanced cinema-grade video features. For creators like Polin, utilizing a state-of-the-art digital body to document the use of an archaic analog camera creates a fascinating meta-narrative. It highlights just how far camera technology has advanced over the past century, moving from heavy wooden field cameras and glass or sheet film to silent, highly automated electronic sensors that fit in the palm of a hand.
Furthermore, creators working in the digital space frequently leverage companion resources to refine their modern workflows. For those looking to elevate their digital imagery, standardized post-processing tools remain essential. Professional-grade color grading packages, such as specialized custom Lightroom presets, help maintain visual consistency across large volumes of digital work, contrasting sharply with the organic, chemical development processes required for 4×5 sheet film.
Broader Impact and Implications for Creative Content
Experiments of this nature carry significant weight within the broader photography and content creation community. In an era where camera manufacturers continually release equipment focused on higher frame rates, higher megapixels, and smarter automation, many modern photographers experience gear fatigue. The relentless pursuit of technological perfection can sometimes stifle creativity, leading to a homogenization of visual styles where technical flaws are entirely eliminated, but distinctive artistic character is occasionally lost in the process.
By deliberately handicapping themselves with a 4×5 camera at a major sporting event, Polin and Austin underscored the value of intentionality in photography. The project serves as a reminder that limitations can often act as a catalyst for creative problem-solving. When a photographer cannot rely on a motor drive to capture fifty frames of a single rally, they must deeply understand the sport, anticipate human movement, and intimately connect with the rhythm of the game before ever tripping the shutter.
Moreover, the collaboration between independent content creators and massive sporting institutions like the US Open highlights the evolving nature of media accreditation. Organizers increasingly recognize the value of inviting creative voices who approach traditional events through unconventional lenses. These collaborations produce content that engages audiences beyond standard sports journalism, offering a fresh, artistic perspective on world-class athletic competition.
Looking Ahead to Future Collaborations
As the dust settles on this ambitious Flushing Meadows experiment, the overarching takeaway is one of growth and adaptability. The logistical challenges faced while operating a bulky analog camera in the high-stress, fast-paced environment of a Grand Slam tennis tournament provided a steep learning curve. However, overcoming those obstacles has laid a solid foundation for future endeavors.
Should the invitation be extended again for subsequent tournaments, the team will enter the grounds not with apprehension, but with refined strategies and practical insights gained from their initial trial. Whether large-format film will once again make an appearance on the professional tennis circuit remains to be seen, but the pursuit of unconventional photographic storytelling will undoubtedly continue to push boundaries in the digital age.
